Conceptualizing Anime and the Database Fantasyscape

Ruh, Brian

doi:10.1353/mec.2014.0012

Cited by 5 publications

(3 citation statements)

References 22 publications

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“…It appears thus that the Oxford Dictionaries' word of the year here analyzed being -as it is -an example of such an intertextual magma, could be considered a potential component of the "database fantasyscape", the virtual 'repository' theorized by Brian Ruh (2014) that, merging Azuma's database concept (2007, 2010 [2001]) and Napier's idea of fantasyscape (2007), aims to describe the fl ow of anime and manga in a transmedia and transnational context. Such an interpretation would conceptualize emojis, like anime and manga characters, as just another global postmodern 'tile' people may gather in order to create their own DIY narrations.…”

Section: Discussionmentioning

confidence: 92%

The "Face with Tears of Joy" Emoji. A Socio-Semiotic and Multimodal Insight into a Japan-America Mash-Up

Moschini

2017

HJLCB

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The blog site of the Oxford Dictionaries features a post dated November 16 2015, which announces that, "for the fi rst time ever", their "Word of the Year" is not a word, but a pictograph: the "Face with Tears of Joy" emoji. The term emoji, which is a loanword from Japanese, identifi es "a small digital image or icon used to express an idea or emotion in electronic communication" (OED 2015).The sign was chosen since it is the item that "best refl ected the ethos, mood, and preoccupations of 2015". Indeed, the Oxford Dictionaries' President, Caspar Grathwohl declared that emojis are "an increasingly rich form of communication that transcends linguistic borders" and refl ects the "playfulness and intimacy" of global digital culture.Adopting a socio-semiotic multimodal approach, the present paper aims at decoding the many semantic and semiotic layers of the 2015 "Word of the Year", with a special focus on the context of cultures out of which it originates. More in detail, the author will focus on the concept of translation as "transduction", that is the movement of meaning across sign systems (Kress 1997), in order to map the history of this 'pictographic word' from language to language, from culture to culture, from niche discursive communities to the global scenario. Indeed, the author maintains that this 'pictographic word' is to be seen as a marker of the mashing up of Japanese and American cultures in the discursive practices of geek communities, now gone mainstream thanks to the spreading of digital discourse.

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Section: Discussionmentioning

confidence: 92%

The "Face with Tears of Joy" Emoji. A Socio-Semiotic and Multimodal Insight into a Japan-America Mash-Up

Moschini

2017

HJLCB

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“…There are a number of interpretations of the terms -anime‖ and -animation‖, leading to difficulties in making a clear differentiation between the two. During the 1970s, the term -Japanimation‖ initially emerged in English, with Ruh (2014) noting that ‗the term -Japanimation‖ began to fall from popularity nearly a decade laterone reason was that it got too easily twisted into a racially derogatory term by detractors (e.g., -Jap animation‖) ' (2014:165). The term -anime‖ arose during the late 1980s and the early 1990s (Ruh, 2014), with Brown (2006) indicating that the definition emerged from the act of watching anime onscreen and, as such, the word "anime" is dependent on the situation.…”

Section: Introductionmentioning

confidence: 99%

“…During the 1970s, the term -Japanimation‖ initially emerged in English, with Ruh (2014) noting that ‗the term -Japanimation‖ began to fall from popularity nearly a decade laterone reason was that it got too easily twisted into a racially derogatory term by detractors (e.g., -Jap animation‖) ' (2014:165). The term -anime‖ arose during the late 1980s and the early 1990s (Ruh, 2014), with Brown (2006) indicating that the definition emerged from the act of watching anime onscreen and, as such, the word "anime" is dependent on the situation. Thus, anime does not necessarily refer to animation from a particular country, but rather to a method of positioning images onscreen, along with how audiences communicate with such details.…”

Section: Introductionmentioning

confidence: 99%

Saudi Viewers’ Perceptions of Attack on Titan Japanese Animation Online Series

Qutub¹,

Alardawi²

2021

ASS

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This quantitative study examines Saudi viewers’ perceptions of the Japanese anime Attack on Titan. Data collection was undertaken by means of an online survey of 346 viewers of the animation, aged between fourteen and thirty-eight. The results indicated that the most popular characters were Levi, Eren, and Mikasa, with the least liked being the Armorer Titan, the Female Titan, Sasha, and Christa. The research found that the participants were attracted to scenes including fights between human and Titans, flying blood, and dialogue. The viewers expressed an interest in the unique scenario of the series, as well as each character’s tone of voice and facial expression. Finally, the hypothesis testing (Ho) of viewers’ tendency to like characters based on gender was accepted as confirmed by the 2-tail test (.042), i.e. the participants tended to prefer male characters. This study recommends that future research applies content analysis to provide further insights into the reasons behind the identified preference for male characters.

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Informal Strategies for Learning History in Japanese Mass Media Visual Culture: A Case Study of the Mobile Game Fate/Grand Order

Domínguez

2022

History Education in the Digital Age

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Conceptualizing Anime and the Database Fantasyscape

Cited by 5 publications

References 22 publications

The "Face with Tears of Joy" Emoji. A Socio-Semiotic and Multimodal Insight into a Japan-America Mash-Up

The "Face with Tears of Joy" Emoji. A Socio-Semiotic and Multimodal Insight into a Japan-America Mash-Up

Saudi Viewers’ Perceptions of Attack on Titan Japanese Animation Online Series

Informal Strategies for Learning History in Japanese Mass Media Visual Culture: A Case Study of the Mobile Game Fate/Grand Order

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